Music reviews: Adam Lambert, Willie Nelson, Rita Wilson

On his debut album three years ago, Adam Lambert was fresh off a runner-up "American Idol" finish, and eager to show off his amazing vocal range. The result was an all-things-to-everyone album ranging from classic rock crunch to hip-hop heat, with an over-the-top ballad or two thrown in.

On "Trespassing," his second studio album, Lambert narrows the focus to profitable dance pop (though the hyper-emotional ballads still force their way in). The result is a more consistent but less-gratifying sophomore offering.

It kicks off with a roar on the title track, co-written with Pharrell Williams of The Neptunes. "Trespassing" employs a drill team stomp-and-clap intro backing up chanting lyrics, propelled by a booming bass-line and drumbeat very reminiscent of Queen's "Another One Bites the Dust." That's entirely appropriate, as Lambert may or may not still wind up succeeding Freddy Mercury in the group.

"Cuckoo" leans heavily on synthesizer and a pounding beat, and seems destined to become a dance club favorite this summer, along with "Kickin' In," a Prince soundalike that deals with the feeling of getting drunk.

"Shady" features assists from Nile Rodgers and Sam Sparro, and the next single, "Never Close Our Eyes," was co-written by Bruno Mars, featuring a flamenco guitar over a dance club beat.

"Pop That Lock" has a groove that would be at home on an LMFAO album, and "Outlaws of Love" is another of Lambert's heartfelt declarations that as long as love is real, it doesn't matter what anyone else thinks of it.

If dance music or the club scene is your thing, then you'll love most of this album. But if you like Adam Lambert the Renaissance Man as shown in his debut, you might be left wishing for a bit more variety.

— Wayne Parry, The Associated Press

*

Willie Nelson, "Heroes" (Sony Legacy) **

Willie Nelson returns to the Sony label family, home to his greatest commercial triumphs, including "Red Headed Stranger" and "Stardust." Nelson is as prolific as anyone of his time. He lets recordings fly with a frequency that speaks to his spontaneity and his willingness to collaborate with anyone. But that means new albums sometimes suffer from a lack of focus and consistency, and can get lost in the sheer volume of Willie Nelson albums.

Sony Legacy respectfully positions "Heroes" as more artfully considered, but other than a remarkable take on Coldplay's "The Scientist," there's little that separates this album from Nelson's avalanche of releases. There's the all-over-the-map covers, from Pearl Jam to Bob Wills. There's also the bevy of collaborators, from familiar partners like Ray Price to newer buddies like Snoop Dogg (who croons tunelessly on "Roll Me Up," Nelson's latest ode to pot, which also includes vocal contributions from Jamey Johnson and Kris Kristofferson).

The most frequent duet partner is his son Lukas Nelson, who joins nine of the 14 songs. It's admirable for a father to want to boost his son's fledgling career, but it does the music no favors. His son's voice has Willie's reedy tone, but little of its musicality or range, making this collection less heroic than it could have been.

— Michael McCall, for The Associated Press

*

Rita Wilson, "AM/FM" (Decca) **

Why would Rita Wilson do a cover album of some of the most famous songs of the 1960s and '70s?

Because she can?

The actress and film producer (and wife of Tom Hanks) has the clout to do anything she wants – and a voice to bring legitimacy to "AM/FM," even if it's ultimately just a vanity project/publicity stunt.

In fact, her vocals are gorgeous enough to make you wonder why it took the 55-year-old so long to put out her debut.